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As the year draws to a close, 69salon by KORNFELD invites you to a special dialogue:

In the exhibition “Doppelspiel”, the painter Franziska Klotz and the painter and ceramicist Fritz Bornstück meet for the first time – two Berlin-based artistic personalities who each, in their own way, explore the traces of our present.

Franziska Klotz’s painting is physical, probing, multi-layered. A tactile, exploratory way of painting lets objects, animals and figures emerge from the in-between. Her works speak of perception, memory and the tenderness of the moment.

Fritz Bornstück, in turn, brings the small relics of everyday life to life in his oil paintings and ceramic sculptures – furniture, vessels, fragments of technology – which gain a new presence infused with poetic melancholy and subtle humour.

In their interplay, a double game unfolds between closeness and distance, light and shadow, seriousness and a wink. The exhibition also marks the opening of the first winter salon at 69salon by KORNFELD – with a Christmas tree filled with small works and editions by women artists who are friends of the gallery, and a book presentation by Marianne Ludes (“Trio mit Tiger”*).

Opening: Friday, 21 November 2025 | 6 pm

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Installation

About the artist

Franziska Klotz

FRANZISKA KLOTZ

Born 1979 in Dresden, Germany
Lives and works in Berlin, Germany‍

Organizing the image field using color, shape and surface – the genuine means of painting – is central to the art of Franziska Klotz. Her work is characterized by a virtuosic handling of the different modes of painting. Using these purely painterly means, the Berlin-based artist always deals with the real world of the 20th and 21st century, toward which she pursues a subjective perspective that is guided by her personal impressions and feelings.
Fritz Bornstück

FRITZ BORNSTÜCK

Born 1982 in Weilburg an der Lahn, Germany
Lives and works in Berlin, Germany

Bornstück paints compositions from an anachronistic world of consumption, antique symbols of status and cultural pleasure, which he does not exhibit conceptually as ready-made, but translates into figurative painting. This makes one think of a "dirty" Leipzig School or of wild Impressionism. In keeping with the pictorial motif, a patina also seems to have settled over the painting. From the closest proximity, the painterly details, which dissolve abstractly, are of interest here. Paint is not applied thinly, but pastos. In some places it is pressed on and off again or scraped off and then painted over again. Gestures and roughness can also only be seen when looking directly into the eyes of the canvas. In small strokes, a more chaotic brushstroke is reflected, but without disturbing the figurative representation premise that makes up the picture as a whole.